Rebecca Mary — Themes and Context
Edition facts
For Rebecca Mary — Themes and Context, the stored edition analysis reports 31,772 words, 2 hr 19 min estimated reading time, and 4 detected text sections.
The text analysis averages about 12.7 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Short stories,” connecting these edition facts with the source record’s subject description.
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- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
“Well, Rebecca Mary Plummer, you came to fetch my answer, did you? You got your stent 'most done?” Aunt Olivia's hands were extended for the folded sheet.
“I've got it DONE, Aunt 'Livia,” answered little Rebecca Mary, steadily. Her slender figure, in its quaint, scant dress, looked braced as if to meet a shock. But Rebecca Mary was terribly afraid.
“Every mite o' that seam? Then I guess you can't have done it very well; that's what I guess! If it ain't done well, you'll have to take it—”
“Wait—please, won't you wait, Aunt 'Livia? I've got to say something. I mean, I've got all the over-'n'-overing I'm ever going to do done. THAT'S what's done. The hundred-and-oneth stitch was my stent, and it's done. I'm not ever going to take the hundred and twoth. I've decided.”
Understanding filtered drop by drop into Aunt Olivia's bewildered brain. She gasped at the final drop.
“Not ever going to take another stitch?” she repeated, with a calmness that was awfuler than storm.
“May I ask when this—this state of mind began?”
Rebecca Mary girded herself afresh. She had such need of recruiting strength.
“It's been coming on,” she said. “I've felt it. I knew all the time it was a-coming—and then it came.”
It seemed to be all there. Why must she say any more? But still Aunt Olivia waited, and Rebecca Mary read grim displeasure in capitals across the gray field of her face. The little figure stiffened more and more.
“I've over-'n'-overed 'leven sheets,” the steady little voice went on, because Aunt Olivia was waiting, and it must, “and you said I did 'em pretty well. I tried to. I was going to do the other one well, till you said there was going to be another dozen. I couldn't BEAR another dozen, Aunt Olivia, so I decided to stop. When Thomas Jefferson crowed I sewed the hundred-and-oneth stitch. That's all there's ever a-going to be.”
Rebecca Mary stepped back a step or two, as if finishing a speech and retiring from her audience. There was even the effect of a bow in the sudden collapse of the stiff little body. It was Aunt Olivia's turn now to respond—and Aunt Olivia responded:
“You've had your say; now I'll have mine. Listen to me, Rebecca Mary Plummer! Here's this sheet, and here's this needle in it. When you get good and ready you can go on sewing. You won't have anything to eat till you do. I've got through.”
The grim figure swept right-about face and tramped into the house as though to the battle-roll of drums. Rebecca Mary stayed behind, face to face with her fate.
“She's a Plummer, so it'll be SO,” Rebecca Mary thought, with the dull little thud of a weight falling into her heart. Rebecca Mary was a Plummer too, but she did not think of that, unless the un-swerving determination in her stout little heart was the unconscious recognition of it.
“I wonder”—her gaze wandered out towards the currant-bushes and came to rest absently on Thomas Jefferson's big, white bulk—“I wonder if it hurts very much.” She meant, to starve. A long vista of food-less days opened before her, and in their contemplation the weight in her heart grew very heavy indeed.
“We were GOING to have layer-cake for supper. I'm VERY fond of layer- cake,” Rebecca Mary sighed, “I suppose, though, after a few weeks”—she shuddered—“I shall be glad to have ANYTHING—just common things, like crackers and skim-milk. Perhaps I shall want to eat a—horse. I've heard of folks—You get very unparticular when you're starving.”
It was five o'clock. They WERE going to have supper at half past. She could hear the tea things clinking in the house. She stole up to a window. There was Aunt Olivia setting the layer-cake on the table. It looked plump and rich, and it was sugared on top.
“There's strawberry jam in between it,” mused Rebecca Mary, regretfully. “I wish it was apple jelly. I could bear it better if it was apple jelly.” But it was jam. And there was honey, too, to eat with Aunt Olivia's little fluffy biscuits. How very fond Rebecca Mary was of honey!
Aunt Olivia stood in the kitchen doorway and rang the supper bell in long, steady clangs just as usual. But no one responded just as usual, and by the token she knew Rebecca Mary had not taken the other stitch that lay between her and supper.
“She's a Plummer,” sighed Aunt Olivia, inwardly, unrealizing her own Plummership, as little Rebecca Mary had unrealized hers. Each recognized only the other's. The pity that both must be Plummers!
Rebecca Mary counts her stitches aloud, waiting for the hundred-and-oneth to bring a moment she has long anticipated. The sheet billows around her, and she pauses until Thomas Jefferson the rooster crows. This opening scene establishes a child governed by self-imposed rituals and a quiet, determined courage. The narrative voice stays close to her perspective, rendering her fears and hopes in precise, unadorned language.
Throughout the excerpts, Rebecca Mary's inner life contrasts sharply with the external demands of Aunt Olivia, who calls her by her full name in a rising cadence. The stories trace small acts of defiance and longing—a rolled nightgown turned doll, a secret wish—against a backdrop of domestic duty and Plummer family principles.
Counting and Waiting: The Rituals of a Child
Rebecca Mary's counting of stitches is not mere childish play; it is a solemn countdown to a transformative moment. She waits for Thomas Jefferson's crow to take the final stitch, and when it comes, she cries out, “Hundred and one!” with a courage that surprises even her. The narrative lingers on her physical reactions—her breath quickens, her face whitens, her crease deepens—making the ritual feel weighty and real.
This pattern of waiting and counting recurs in other scenes. She waits for Aunt Olivia's summons, for permission, for a sign of affection. The counting gives her a sense of control in a world where she has little. The text notes that she folds the sheet “with painful precision,” leaving a red dot to mark the place. These small, deliberate actions reveal a child who invests ordinary tasks with profound meaning, a strategy for enduring a life of limited choices.
The Doll That Was a Nightgown: Objects of Longing
One of the most striking episodes involves a doll improvised from a rolled nightgown, pinned together and cuddled in bed. When Aunt Olivia discovers it and unpins it, Rebecca Mary cries, “She's dead!” The moment is recalled years later when the minister's wife brings a resplendent doll, and Aunt Olivia sits silent, remembering that rusty pin and the child's bereaved face.
Objects in these stories carry emotional weight far beyond their material value. The sheet, the doll, the petticoat—each is a site of conflict between the child's desire for comfort and the adult's insistence on utility. Aunt Olivia's honesty, a family trait, prevents her from expressing gratitude for the gift she does not believe in. The minister's wife, in contrast, tries to give what she thinks a little girl needs, but her effort meets the wall of Plummer principle. The doll becomes a symbol of the gulf between the two women's understandings of childhood.
Plummer Honesty Versus Gentler Impulses
Aunt Olivia is defined by “Plummer honesty,” a grim, yieldless trait that governs her actions. When the minister's wife gives the doll, Aunt Olivia cannot thank her because she is not thankful. Yet at that same instant, she recalls the nightgown-doll incident with unexpected clarity, suggesting a buried tenderness she cannot express. The text notes that “Plummer honesty and Plummer politeness were at variance,” and honesty wins.
The minister's wife, by contrast, struggles to balance her role with her instincts. She asks her husband to imagine being Aunt Olivia, then sighs and goes back to tucking her children in. At night, she kisses “little lone Rebecca Mary, too” by throwing a kiss toward the Rebecca-Mary-est window. This small, private ritual mirrors Rebecca Mary's own counting: both are acts of connection in a world of restraint. The tension between these two adult women—one bound by principle, the other by compassion—frames the child's experience without resolving it.
Readers attentive to small details will find the heart of these stories in the spaces between what is said and what is felt. Rebecca Mary's voice, with its precise counting and whispered confidences, invites us to notice the rituals children create to endure and to hope. The excerpts offer no grand resolution, only the quiet persistence of a child who folds her sheet carefully and waits for the rooster to crow.
I’ve shelved Rebecca Mary beside my chair for years, her small counting ritual a quiet beat against the world’s demands. When I finally turned to The Titan — A Closer Reading, I felt that same pulse—an individual straining against forces they cannot name, yet refuse to obey. They are strangers, but they keep each other company.
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